Just like last year Entertainment business and Rankingz researched the top 10 ticketers on the Dutch market. Ticketmaster has taken over the lead in the list from See tickets. That company was the number one in last year. Ticketmaster did a lot of catching up in just a few months on the social channels. Last year the had 8.000 Twitter followers and 47.000 likes on Facebook. They now have 46.000 followers and 119.000 likes. But not only the numbers count on Rankingz. The degree of engagement makes the real difference. What happened?
The last few months Ticketmaster has put a lot of effort and money their Facebook and Twitter strategy. Their goal was to create more reach, effect and engagement on the channels. The events One Direction and MTV’s EMA’s gained a lot of new followers. After that they started advertising on Twitter. But advertising is getting less effective over de last few years. Consumers ignore stories without a proof of concept. Information and technology are the new focus points of the Ticketmaster organisation according to Mark Yovich in Entertainment business. The smart use of data ensures that they can make the transformation to a professional online service organisation in the entertainment sector.
In September 2013 See Tickets was most active on Facebook. The ticketer had more than 100.000 likes. In the meanwhile they have over 140.000 likes and are still the lagerst player on that platform. But Ticketmaster has grown faster on other social media channels. That puts See Tickets on a second position in the Rankingz now. See Tickets is putting a lot of effort in dialogue but they are struggelinh with the fact that it’s difficult to connect wit hall customers at the same time because they sell a lot of different kind of tickets. They are researching a smarter approach at the moment and orientate themselves on multiple platforms.
Ticketscript is following a strategy according to the management of the company despite the poor growth of their community in the last few months. They focus on a self-service-model and try to reach the event organizers and partners. That target group shows different behavior on social media and is also a lot smaller. Although B2C and B2B show more and more overlap overall. Social media has become a PR tool for the Ticketscript organisation. Just like Paylogic. Therefore the engagement is less with their communities which explains the lower position on the list. ActiveTickets declares to see no need in the use of social media yet.
The competition in the ticketing market is quite big. Also these companies have to deal with the changing world around them by interne and social media. Everybody can be the eyes and ears of a brand these days. The media landscape is fragmented and old business models do not work as effectively as they used to. Just dropping a statement as brands used to do is outdated. Future companies focus on the dialogue with their customers, partners, fans and ambasadors. Without a conversation the raltionship is over or can not be established at all.
If we want to or not, we have to face the facts of the digital world. The list with ticketers provides a daily to-date picture but can change due to the activity social media accounts and brands that are being monitored. Entertainment business has made a snapshot of the Ticketers Rankingz list for this message and tried to be as complete as possible. Do you want to know more about online ticketers or do you ant to add a brand to the list? Go to: www.rankingz.com/nl/online-ticketing/.
Entertainment business online Rankingz ticketers
Internet, ICT and social media make sure that we are connected and can share information always and everywhere nowadays. It has great effect on the business models of companies and organizations. For example, the music industry is forced to the digital world for years now due to the transparency of the online world. Not being ableto innovate means the end of a business one day. This also applies to festivals and events. An industry where the competition is big and distinctiveness and an invvolved crowd are key for success.
More and more festivals and events are looking for a unique location, they work on intimacy that suits the audience and put focus on a total experience. A good mix of artists, food, drinks and art for example. But the day itself is only a small part of the overall concept nowadays. For the small and big players in this industry it’s necessary to be a part of the internet ecosystem. Every festival and event is a brand. Successful brands are able to connect with customers, fans and ambassadors 24 x 7 x 365, for example on social media channels.
From broadcast to dialogue towards greater involvement
Youtube, Facebook, Twitter and streaming sites like Soundcloud allow festivals an events to make a difference al year long within their community. With unique content such as photos, videos, music and blogs organizers can connect with, listen to and watch their audience. It’s very important to inform, fascinate and especially to create engagement. Rankingz is a unique Reputation Performance Analysis (RPA) platform, and currently Rankingz is researching festivals and events on the internet on their performance in 2013. The full report will be published soon, but we took a sneak preview on the Twitter communities.
Just like the analysis of the top 100 DJs in the EDM monitor, published earlier this year, there is an apparent relationship between the age of a festival or event and the growth in the number of Twitter followers by 2013. The age is related to the first year of the festival or event was held for the first time. Twitter is an excellent platform to talk to the public about the theme, the artists and the organization of the day itself. Dialogue with the crowd is key. But it appears that especially the older organizations use this platform to send messages from a traditional marketing view. Digital word of mouth is often hard to find on those accounts.
Not advertising but activate the community
This means that older festivals and events with more fans than the yung ones such as I Love Techno (1995) Paaspop (1985) and Emporium (2005) are not necessarily able to also reach their community better and involve with their crowd. It seems that this aspect of doing business these days is easier. Ultra Music festival is the youngest festival and the fastest growing player on Twitter in 2013. This could be due to the fact that this festival is set up and managed by digital natives. They adapt faster to new technology and platforms.
The graph below is a part of the full monitor over 2013 with more than 120 festivals and events that will be released later this week at Rankingz. An initiative of DDMCA and JibeCompany with the vision: “everyone is a brand on the internet. Each brand can be compared with others influencers and peers.” In the monitor they focus on developments in the festival and events industry when it comes to things like social engagement. If you are interested in more digital facts and figures from the music industry then you can download the EDM monitor here.
This article is originally written by @Denis Doeland for Twittermania. Photo: Michal Durinik / Via: Shutterstock.com